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Gentleman Waife and his Juliet Araminta had gone to their lodgings over the Cobbler's stall. Their rooms were homely enough, but had an air not only of the comfortable, but the picturesque. The little sitting-room was very old-fashioned,—panelled in wood that had once been painted blue, with a quaint chimney-piece that reached to the ceiling. That part of the house spoke of the time of Charles I., it might have been tenanted by a religious Roundhead; and, framed-in over the low door, there was a grim, faded portrait of a pinched-faced saturnine man, with long lank hair, starched band, and a length of upper lip that betokened relentless obstinacy of character, and might have curled in sullen glee at the monarch's scaffold, or preached an interminable sermon to the stout Protector. On a table, under the deep-sunk window, were neatly arrayed a few sober-looking old books; you would find amongst them Colley's "Astrology," Owen Feltham's "Resolves," Glanville "On Witches," the "Pilgrim's Progress," an early edition of "Paradise Lost," and an old Bible; also two flower-pots of clay brightly reddened, and containing stocks; also two small worsted rugs, on one of which rested a carved cocoa-nut, on the other an egg-shaped ball of crystal,—that last the pride and joy of the cobbler's visionary soul. A door left wide open communicated with an inner room (very low was its ceiling), in which the Bandit slept, if the severity of his persecutors permitted him to sleep. In the corner of the sitting-room, near that door, was a small horsehair sofa, which, by the aid of sheets and a needlework coverlid, did duty for a bed, and was consigned to the Bandit's child. Here the tenderness of the Cobbler's heart was visible, for over the coverlid were strewed sprigs of lavender and leaves of vervain; the last, be it said, to induce happy dreams, and scare away witchcraft and evil spirits. On another table, near the fireplace, the child was busied in setting out the tea-things for her grandfather. She had left in the property-room of the theatre her robe of spangles and tinsel, and appeared now in a simple frock. She had no longer the look of Titania, but that of a lively, active, affectionate human child; nothing theatrical about her now, yet still, in her graceful movements, so nimble but so noiseless, in her slight fair hands, in her transparent colouring, there was Nature's own lady,—that SOMETHING which strikes us all as well-born and high-bred: not that it necessarily is so; the semblances of aristocracy, in female childhood more especially, are often delusive. The _souvenance_